After she discovers The Terrible Thing, Easter Deetz goes looking for her sister but ends up pinned under a giant boulder with her legs crushed into tomato paste. Bored, disappointed, and thoroughly dismembered, Easter lies in The Woods with only sinister squirrels to keep her company, making it very difficult for her to think in peace.
When a party commemorating the anniversary of a gruesome killing at the infamous Boy Meets Girl Inn ends in a bloodbath, Noelle Dixon’s diary becomes the key piece of evidence. But the cryptic entries suggest there’s more to the bizarre case than can be rationally explained.
A NEW YORK TIMES BEST BOOK OF THE YEAR • A darkly funny take on mothers and daughters, about a woman who must take drastic measures to save her husband and herself from the vengeful ghost of her mother-in-law. “A quirky, gruesome, utterly original feminist horror experience.” —The New York Times Book Review When Ralph and Abby Lamb move in with Ralph’s mother, Laura, Abby hopes it’s just what she and her mother-in-law need to finally connect. After a traumatic childhood, Abby is desperate for a mother figure, especially now that she and Ralph are trying to become parents themselves. Abby just has so much love to give—to Ralph, to Laura, and to Mrs. Bondy, her favorite resident at the long-term care home where she works. But Laura isn’t interested in bonding with her daughter-in-law. She’s venomous and cruel, especially to Abby, and life with her is hellish. When Laura takes her own life, her ghost haunts Abby and Ralph in very different ways: Ralph is plunged into depression, and Abby is terrorized by a force intent on destroying everything she loves. To make matters worse, Mrs. Bondy’s daughter is threatening to move Mrs. Bondy from the home, leaving Abby totally alone. With everything on the line, Abby comes up with a chilling plan that will allow her to keep Mrs. Bondy, rescue Ralph from his tortured mind, and break Laura's hold on the family for good. All it requires is a little ingenuity, a lot of determination, and a unique recipe for chicken à la king…
After she discovers The Terrible Thing, Easter Deetz goes looking for her sister but ends up pinned under a giant boulder with her legs crushed into tomato paste. Bored, disappointed, and thoroughly dismembered, Easter lies in The Woods with only sinister squirrels to keep her company, making it very difficult for her to think in peace.
Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.
Ainslie argues that our responses to the threat of our own inconsistency determine the basic fabric of human culture. He suggests that individuals are more like populations of bargaining agents than like the hierarchical command structures envisaged by cognitive psychologists. The forces that create and constrain these populations help us understand so much that is puzzling in human action and interaction: from addictions and other self-defeating behaviors to the experience of willfulness, from pathological over-control and self-deception to subtler forms of behavior such as altruism, sadism, gambling, and the 'social construction' of belief. This book integrates approaches from experimental psychology, philosophy of mind, microeconomics, and decision science to present one of the most profound and expert accounts of human irrationality available. It will be of great interest to philosophers and an important resource for professionals and students in psychology, economics and political science.
Exploring the poet's fascination with the affective power of caricature, Baudelaire's “Argot Plastique” charts the movement in Baudelaire's poetry toward a language of visual distortion. McLees demonstrates that caricature, graphically and culturally a vehicle of sharp wit and social commentary, became in Baudelaire's works a poetic expression of the human condition itself. Using its capacity for deflating commentary to subvert the poetic conventions of his age, transferring its range of subjects into a poetry that celebrated the underclass, Baudelaire ultimately focused the lens of poetic caricature on the relation of subject, artist, and viewer. Richly illustrated with lithographs, etchings, and drawings by Goya, Daumier, Grandville, Gavarni, and other caricaturists, Baudelaire's “Argot Plastique” reveals the importance of caricature as a model for Baudelaire's poetry.
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